Release Date: November 22, 2024
Label: Reigning Phoenix Music
Opeth Is:
Martin Mendez-Bass Guitar
Waltteri Väyrynen-Drums
Mikael Åkerfeldt-Vocals, Guitar
Joakim Svalberg-Keys, Vocals
Fredrik Åkesson-Guitar,Vocals
With The Last
Will and Testament, they have brought back the "growling"
death metal vocals. However, it is at a minimum compared to the early catalog
of releases, although very appropriately placed lyrically. Another fantastic
factor is leader Mikael Åkerfeldt's ability to switch that type of vocal back
to his normal singing voice, which is excellent. This recording is the 180-gram
Gold vinyl LP and poster version. Each side has two amazing progressive metal
masterpieces. Interestingly, every track has no title until you reach the end.
The cover art instantly reminded me of the horror classic The Shining; Jack Nicholson
sitting in the middle is the only thing missing! As I listened, I felt the
music could be a booming soundtrack for a horror picture.
Side A opens with "§I” and some excitement, followed by a furiously
quick few minutes to start with a bang. The synth is orchestral, followed by a
brief bass section featuring a heavy guitar throughout. The track is complex,
announcing that the band is back as strong and potent as ever and one of the
top progressive metal bands in the world. I feel their intensity and complexity
consistently make their music captivating, and this is a superb opener.
"§II" begins with a bass line and rapid drum roll,
then the lead guitar enters, and you can feel the growling coming soon, and it
does. They transition back and forth between the two vocal styles, which I believe
must have been difficult. Mikael is testing his vocal range, and then midstream
gets very soft and beautiful, seemingly an easy task for this incredibly
talented group. Then it gets more atmospheric with Ian Anderson's flute (great
idea to have him come in as a guest!). I must admit he brings a new element to
the Opeth sound and a nice touch. Then, after that segment, they explode into a
wall of sound (which happens often on this album and typically in their style).
Some excellent guitar work follows, and then the growling vocals return to
change direction (yet again) for the dark, foreboding sound, then back to a
more spacey sound, and a return to the band full force together to end the
track.
Side B begins with "§III" as the bass, drums, and
guitar come crashing down. The intensity is immediate, like watching and
feeling the sledgehammer fall on yourself. Many changes in the track define
what progressive metal is at its very finest. The drums are excellent, and the
music changes dramatically towards the end with kids talking, then it goes into
an orchestral segment of sheer beauty.
There is a segue into "§IV" with a powerful growling
that says, "Pay attention!" The lyrics are harsh to keep the subject
matter of death at the forefront with added religious cynicism. The spoken word
and the music are deliberate, working hand in hand. Back and forth, it travels
with ever-shifting runs of excellent guitar, etc. They set you up with a mellow
transition, then slam your perception with a reality check. They remind you of
their command and power in the music, using their instruments and lyrics to
transform each storyline into a reality magically.
Side C begins with "§V" with a complex and heavy
beginning, then the spoken word (Ian Anderson) with a reading of the The
Last Will and Testament, indicating
how this story will change and how we are getting closer to the end
of this journey. Combining the keys with all the other elements creates the
drama of the lyrics, which amplifies every word. It is like watching a play
unfold on stage with all the characters. The razor-sharp guitar licks with
growls send a chill down your spine. The mystery and excitement continue to
build.
"§VI" starts with an acoustic guitar, beautifully
altering your mood and mindset from the previous onslaught of emotion with
immediacy. It gets more layered with the rest of the band joining in. And this
is what makes Opeth so charismatic. It then gets more intricate, and a great
guitar run brings the entire band up to another level (as if they needed to
be?) for an auditory slice of prog metal heaven (or is it hell?). Superb
musicianship is their hallmark on every track, including this one.
Side D opens with "§VII," featuring a prominent bass and an acoustic guitar. Then, some keys and a layer of ambiance were a nice touch. Then, the switch to that excellent electric guitar work, some growling, and a succession of instrumentation. Drums get the spotlight as the vocals change back to normal. The music changes again to very heavy with more growling. The guitar playing is magnificent, as usual.
Here we are at the end with "A Story Never Told," which
hints at provoking many thoughts right away before it starts. Some grinding
keys begin as the drums and guitar enter the mix beautifully. The energy builds,
and the vocals increase in intensity, growling as the music reaches the apex of
sound. Then, a superb keyboard run plays out as the drums and bass work hard to
keep it driving along and continually moving forward. There is a
mellowed-out acoustic ending for a massive change in direction, and the album
closes out.
The Last Will and Testament may very well be Opeth's
ultimate recording. In the past, before they eliminated the growling vocals, I
did not care for it at all. This time, I found that the way it was used was
perfect. The way Mikael presents it makes it more than bearable; I did not mind
it at all and found it worked very well with all of the subject matter and
music that was going on at the time. Those who missed the growling vocals will
consider this a return to form and then some.
This is the best progressive metal album I have heard in 2024, no contest.
Keith “MuzikMan” Hannaleck-TFOV
Reviews Founder
December 13, 2024
Tracks:
Side A:
A1. §I
A2. §II
Side B:
B1. §III
B2. §IV
Side C:
C1. §V
C2. §VI
Side D:
D1. §VII
D2. A Story Never Told
